Biblioteche dell'Alto Adige

Abstract: I quattro dialoghi che costituiscono la settima tetralogia di Platone, pur non essendo tra i più famosi, presentano molteplici motivi di interesse, "L'Ippia maggiore" indaga una nozione fondamentale, il bello (kalón), concludendo in maniera aporética. "L'Ippia minore", anch'esso aporético, affronta temi socratici legati alla questione dell'involontarietà del male. "Lo Ione", che vede protagonista un rapsodo interprete di Omero, tratta il tema della poesia come ispirazione divina e delle sue pretese di costituirsi come un'arte. "Il Menesseno, orazione funebre per i caduti in guerra, costituisce, in quanto prestazione retorica, un unicum nel corpus platonico. (leggere.it)

Abstract: This new 2017 edition of The Last Days of Socrates presents Plato's dialogues Euthyphro, Apology, Crito and Phaedo, translated by Benjamin Jowett.

Abstract: Plato's Allegory of the Cave is one of the most elegant and important metaphors in Western philosophy. It is a dialogue between Plato's brother Glaucon and his mentor Socrates, narrated by the latter, in which Plato elucidates his Theory of Forms. 

Abstract: The Apology, by Plato, is the Socratic dialogue that presents the speech of legal self-defence, which Socrates presented at his trial for impiety and corruption, in 399 BC. Specifically, the Apology of Socrates is a defence against the charges of "corrupting the young" and "not believing in the gods in whom the city believes, but in other daimonia that are novel" to Athens.Among the primary sources about the trial and death of the philosopher Socrates (469–399 BC), the Apology of Socrates is the dialogue that depicts the trial, and is one of four Socratic dialogues, along with Euthyphro, Phaedo, and Crito, through which Plato details the final days of the philosopher Socrates.

Abstract: The Crito seems intended to exhibit the character of Socrates in one light only, not as the philosopher, fulfilling a divine mission and trusting in the will of heaven, but simply as the good citizen, who having been unjustly condemned is willing to give up his life in obedience to the laws of the state . . .The days of Socrates are drawing to a close; the fatal ship has been seen off Sunium, as he is informed by his aged friend and contemporary Crito, who visits him before the dawn has broken; he himself has been warned in a dream that on the third day he must depart. Time is precious, and Crito has come early in order to gain his consent to a plan of escape. This can be easily accomplished by his friends, who will incur no danger in making the attempt to save him, but will be disgraced for ever if they allow him to perish. He should think of his duty to his children, and not play into the hands of his enemies. Money is already provided by Crito as well as by Simmias and others, and he will have no difficulty in finding friends in Thessaly and other places.Socrates is afraid that Crito is but pressing upon him the opinions of the many; whereas, all his life long he has followed the dictates of reason only and the opinion of the one wise or skilled man. There was a time when Crito himself had allowed the propriety of this. And although someone will say 'the many can kill us,' that makes no difference; but a good life, in other words, a just and honourable life, is alone to be valued. All considerations of loss of reputation or injury to his children should be dismissed: the only question is whether he would be right in attempting to escape. Crito, who is a disinterested person not having the fear of death before his eyes, shall answer this for him. Before he was condemned they had often held discussions, in which they agreed that no man should either do evil, or return evil for evil, or betray the right. Are these principles to be altered because the circumstances of Socrates are altered? Crito admits that they remain the same. Then is his escape consistent with the maintenance of them? To this Crito is unable or unwilling to reply...___[Halls of Wisdom] From Buddha to Confucius to Plato and down the spiral of time to Kant, Nietzsche and Russell, the Halls of Wisdom are filled to overflowing, yet barely full. Explore the cavernous teachings of the masters, get lost in the art of wonder, and fall in love with wisdom.The only thing you can lose are your chains.

Abstract: The Cratylus has always been a source of perplexity to the student of Plato. While in fancy and humour, and perfection of style and metaphysical originality, this dialogue may be ranked with the best of the Platonic writings, there has been an uncertainty about the motive of the piece, which interpreters have hitherto not succeeded in dispelling. We need not suppose that Plato used words in order to conceal his thoughts, or that he would have been unintelligible to an educated contemporary. In the Phaedrus and Euthydemus we also find a difficulty in determining the precise aim of the author. Plato wrote satires in the form of dialogues, and his meaning, like that of other satirical writers, has often slept in the ear of posterity. Two causes may be assigned for this obscurity: 1st, the subtlety and allusiveness of this species of composition; 2nd, the difficulty of reproducing a state of life and literature which has passed away. A satire is unmeaning unless we can place ourselves back among the persons and thoughts of the age in which it was written. Had the treatise of Antisthenes upon words, or the speculations of Cratylus, or some other Heracleitean of the fourth century B.C., on the nature of language been preserved to us; or if we had lived at the time, and been 'rich enough to attend the fifty-drachma course of Prodicus,' we should have understood Plato better, and many points which are now attributed to the extravagance of Socrates' humour would have been found, like the allusions of Aristophanes in the Clouds, to have gone home to the sophists and grammarians of the day..._____[Halls of Wisdom] From Buddha to Confucius to Plato and down the spiral of time to Kant, Nietzsche and Russell, the Halls of Wisdom are filled to overflowing, yet barely full. Explore the cavernous teachings of the masters, get lost in the art of wonder, and fall in love with wisdom.The only thing you can lose are your chains.

Abstract: In what relation the Apology of Plato stands to the real defence of Socrates, there are no means of determining. It certainly agrees in tone and character with the description of Xenophon, who says in the Memorabilia that Socrates might have been acquitted 'if in any moderate degree he would have conciliated the favour of the dicasts;' and who informs us in another passage, on the testimony of Hermogenes, the friend of Socrates, that he had no wish to live; and that the divine sign refused to allow him to prepare a defence, and also that Socrates himself declared this to be unnecessary, on the ground that all his life long he had been preparing against that hour. For the speech breathes throughout a spirit of defiance, (ut non supplex aut reus sed magister aut dominus videretur esse judicum', Cic. de Orat.); and the loose and desultory style is an imitation of the 'accustomed manner' in which Socrates spoke in 'the agora and among the tables of the money-changers.' The allusion in the Crito may, perhaps, be adduced as a further evidence of the literal accuracy of some parts. But in the main it must be regarded as the ideal of Socrates, according to Plato's conception of him, appearing in the greatest and most public scene of his life, and in the height of his triumph, when he is weakest, and yet his mastery over mankind is greatest, and his habitual irony acquires a new meaning and a sort of tragic pathos in the face of death. The facts of his life are summed up, and the features of his character are brought out as if by accident in the course of the defence. The conversational manner, the seeming want of arrangement, the ironical simplicity, are found to result in a perfect work of art, which is the portrait of Socrates...

Abstract: The First Alcibiades is a conversation between Socrates and Alcibiades. Socrates is represented in the character which he attributes to himself in the Apology of a know-nothing who detects the conceit of knowledge in others. The two have met already in the Protagoras and in the Symposium; in the latter dialogue, as in this, the relation between them is that of a lover and his beloved. But the narrative of their loves is told differently in different places; for in the Symposium Alcibiades is depicted as the impassioned but rejected lover; here, as coldly receiving the advances of Socrates, who, for the best of purposes, lies in wait for the aspiring and ambitious youth.Alcibiades, who is described as a very young man, is about to enter on public life, having an inordinate opinion of himself, and an extravagant ambition. Socrates, 'who knows what is in man,' astonishes him by a revelation of his designs. But has he the knowledge which is necessary for carrying them out? He is going to persuade the Athenians—about what? Not about any particular art, but about politics—when to fight and when to make peace. Now, men should fight and make peace on just grounds, and therefore the question of justice and injustice must enter into peace and war; and he who advises the Athenians must know the difference between them. Does Alcibiades know? If he does, he must either have been taught by some master, or he must have discovered the nature of them himself. If he has had a master, Socrates would like to be informed who he is, that he may go and learn of him also. Alcibiades admits that he has never learned. Then has he enquired for himself? He may have, if he was ever aware of a time when he was ignorant. But he never was ignorant; for when he played with other boys at dice, he charged them with cheating, and this implied a knowledge of just and unjust. According to his own explanation, he had learned of the multitude. Why, he asks, should he not learn of them the nature of justice, as he has learned the Greek language of them? To this Socrates answers, that they can teach Greek, but they cannot teach justice; for they are agreed about the one, but they are not agreed about the other: and therefore Alcibiades, who has admitted that if he knows he must either have learned from a master or have discovered for himself the nature of justice, is convicted out of his own mouth..._____[Halls of Wisdom] From Buddha to Confucius to Plato and down the spiral of time to Kant, Nietzsche and Russell, the Halls of Wisdom are filled to overflowing, yet barely full. Explore the cavernous teachings of the masters, get lost in the art of wonder, and fall in love with wisdom.The only thing you can lose are your chains.

Abstract: That the Dialogue which goes by the name of the Second Alcibiades is a genuine writing of Plato will not be maintained by any modern critic, and was hardly believed by the ancients themselves. The dialectic is poor and weak. There is no power over language, or beauty of style; and there is a certain abruptness and agroikia in the conversation, which is very un-Platonic. The best passage is probably that about the poets:—the remark that the poet, who is of a reserved disposition, is uncommonly difficult to understand, and the ridiculous interpretation of Homer, are entirely in the spirit of Plato (compare Protag; Ion; Apol.). The characters are ill-drawn. Socrates assumes the 'superior person' and preaches too much, while Alcibiades is stupid and heavy-in-hand. There are traces of Stoic influence in the general tone and phraseology of the Dialogue (compare opos melesei tis...kaka: oti pas aphron mainetai): and the writer seems to have been acquainted with the 'Laws' of Plato (compare Laws). An incident from the Symposium is rather clumsily introduced, and two somewhat hackneyed quotations (Symp., Gorg.) recur. The reference to the death of Archelaus as having occurred 'quite lately' is only a fiction, probably suggested by the Gorgias, where the story of Archelaus is told, and a similar phrase occurs;—ta gar echthes kai proen gegonota tauta, k.t.l. There are several passages which are either corrupt or extremely ill-expressed. But there is a modern interest in the subject of the dialogue; and it is a good example of a short spurious work, which may be attributed to the second or third century before Christ...___[Halls of Wisdom] From Buddha to Confucius to Plato and down the spiral of time to Kant, Nietzsche and Russell, the Halls of Wisdom are filled to overflowing, yet barely full. Explore the cavernous teachings of the masters, get lost in the art of wonder, and fall in love with wisdom.The only thing you can lose are your chains.

Abstract: The subject of the Charmides is Temperance or (Greek), a peculiarly Greek notion, which may also be rendered Moderation (Compare Cic. Tusc. '(Greek), quam soleo equidem tum temperantiam, tum moderationem appellare, nonnunquam etiam modestiam.'), Modesty, Discretion, Wisdom, without completely exhausting by all these terms the various associations of the word. It may be described as 'mens sana in corpore sano,' the harmony or due proportion of the higher and lower elements of human nature which 'makes a man his own master,' according to the definition of the Republic. In the accompanying translation the word has been rendered in different places either Temperance or Wisdom, as the connection seemed to require: for in the philosophy of Plato (Greek) still retains an intellectual element (as Socrates is also said to have identified (Greek) with (Greek): Xen. Mem.) and is not yet relegated to the sphere of moral virtue, as in the Nicomachean Ethics of Aristotle...

Abstract: The Critias is a fragment which breaks off in the middle of a sentence. It was designed to be the second part of a trilogy, which, like the other great Platonic trilogy of the Sophist, Statesman, Philosopher, was never completed. Timaeus had brought down the origin of the world to the creation of man, and the dawn of history was now to succeed the philosophy of nature. The Critias is also connected with the Republic. Plato, as he has already told us (Tim.), intended to represent the ideal state engaged in a patriotic conflict. This mythical conflict is prophetic or symbolical of the struggle of Athens and Persia, perhaps in some degree also of the wars of the Greeks and Carthaginians, in the same way that the Persian is prefigured by the Trojan war to the mind of Herodotus, or as the narrative of the first part of the Aeneid is intended by Virgil to foreshadow the wars of Carthage and Rome. The small number of the primitive Athenian citizens (20,000), 'which is about their present number' (Crit.), is evidently designed to contrast with the myriads and barbaric array of the Atlantic hosts. The passing remark in the Timaeus that Athens was left alone in the struggle, in which she conquered and became the liberator of Greece, is also an allusion to the later history. Hence we may safely conclude that the entire narrative is due to the imagination of Plato, who has used the name of Solon and introduced the Egyptian priests to give verisimilitude to his story. To the Greek such a tale, like that of the earth-born men, would have seemed perfectly accordant with the character of his mythology, and not more marvellous than the wonders of the East narrated by Herodotus and others: he might have been deceived into believing it. But it appears strange that later ages should have been imposed upon by the fiction. As many attempts have been made to find the great island of Atlantis, as to discover the country of the lost tribes. Without regard to the description of Plato, and without a suspicion that the whole narrative is a fabrication, interpreters have looked for the spot in every part of the globe, America, Arabia Felix, Ceylon, Palestine, Sardinia, Sweden.Timaeus concludes with a prayer that his words may be acceptable to the God whom he has revealed, and Critias, whose turn follows, begs that a larger measure of indulgence may be conceded to him, because he has to speak of men whom we know and not of gods whom we do not know. Socrates readily grants his request, and anticipating that Hermocrates will make a similar petition, extends by anticipation a like indulgence to him...

Abstract: The Euthydemus, though apt to be regarded by us only as an elaborate jest, has also a very serious purpose. It may fairly claim to be the oldest treatise on logic; for that science originates in the misunderstandings which necessarily accompany the first efforts of speculation. Several of the fallacies which are satirized in it reappear in the Sophistici Elenchi of Aristotle and are retained at the end of our manuals of logic. But if the order of history were followed, they should be placed not at the end but at the beginning of them; for they belong to the age in which the human mind was first making the attempt to distinguish thought from sense, and to separate the universal from the particular or individual. How to put together words or ideas, how to escape ambiguities in the meaning of terms or in the structure of propositions, how to resist the fixed impression of an 'eternal being' or 'perpetual flux,' how to distinguish between words and things—these were problems not easy of solution in the infancy of philosophy. They presented the same kind of difficulty to the half-educated man which spelling or arithmetic do to the mind of a child. It was long before the new world of ideas which had been sought after with such passionate yearning was set in order and made ready for use. To us the fallacies which arise in the pre-Socratic philosophy are trivial and obsolete because we are no longer liable to fall into the errors which are expressed by them. The intellectual world has become better assured to us, and we are less likely to be imposed upon by illusions of words...